Louis Le Nain

1593-1648 French Louis Le Nain Gallery French family of painters. Antoine Le Nain (b Laon, c. 1600; bur Paris, 26 May 1648) and his brothers Louis Le Nain (b Laon, c. 1600; bur Paris, 24 May 1648) and Mathieu Le Nain (b Laon, c. 1607; bur Paris, 26 April 1677) lived together and shared a studio in Paris. Since the studio was headed by Antoine, he is assumed to have been older than Louis. The brothers reputation rests on a number of paintings signed Le Nain, on the basis of which other paintings (but no drawings) have also been attributed to them. None of the signed paintings bears a Christian name, and there is no secure way of attributing works to the individual brothers, although many attempts have been made. Eighteenth-century sale catalogues, fearful of anonymity, effectively chose from the three names at random. Since the writings of Witt (1910) and Jamot (1922) in particular, it has been habitual to ascribe small paintings on copper to Antoine, and austere, larger peasant scenes to Louis. This division of hands will be found in almost all the subsequent literature on the artists, although it must be stressed that there is no evidence at all to support it. Great efforts have also been made to identify works by Mathieu, since he survived his brothers by nearly 30 years and presumably continued to paint after their deaths in 1648. However, no such activity after 1648 is securely documented, and none of the surviving works bears a date later than 1647; and the arguments for a separate Mathieu oeuvre, though cogent, should not be regarded as conclusive. The outstanding feature of the work of the Le Nain brothers, and the basis of their celebrity since the mid-19th century, is the artists treatment of the poor.


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Louis Le Nain The Pilgrims at Emmaus (mk05) oil


The Pilgrims at Emmaus (mk05)
Painting ID::  20518
The Pilgrims at Emmaus (mk05)
Canvas,29 1/4 x 36''(74 x 91 cm)Chapel of the Chateau de Rochambeau in Vendomois (until after 1948);Comte Andre de Montalivet;acquired for the Louvre in 1950
   
   
     

Louis Le Nain The Guard Romm (mk05) oil


The Guard Romm (mk05)
Painting ID::  20519
The Guard Romm (mk05)
1643 Canvas,46 x 54''(117 x 137 cm)Acquired in 1969
1643 Canvas,46_x_54''(117_x_137_cm)Acquired_in_1969
   
   
     

Louis Le Nain A Farrier in His Forge (mk05) oil


A Farrier in His Forge (mk05)
Painting ID::  20520
A Farrier in His Forge (mk05)
Canvas,27 1/4 x 22 1/2''(69 x 57 cm)Acquired for the collection of Louis XVI in 1777
   
   
     

Louis Le Nain La Charette (mk08) oil


La Charette (mk08)
Painting ID::  21560
La Charette (mk08)
1641 Oil on canva, 56x72cm Paris,Musee Natonal du Louvre
1641 Oil_on_canva, 56x72cm Paris,Musee_Natonal_du_Louvre
   
   
     

Louis Le Nain Peasants at their Cottage Door,undated (mk08) oil


Peasants at their Cottage Door,undated (mk08)
Painting ID::  21561
Peasants at their Cottage Door,undated (mk08)
Oil on canvas 55x68cm San Francisco,The Fine Arts Museums of San Francisco,Californai Palace of the Legion of Honor
   
   
     

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     Louis Le Nain
     1593-1648 French Louis Le Nain Gallery French family of painters. Antoine Le Nain (b Laon, c. 1600; bur Paris, 26 May 1648) and his brothers Louis Le Nain (b Laon, c. 1600; bur Paris, 24 May 1648) and Mathieu Le Nain (b Laon, c. 1607; bur Paris, 26 April 1677) lived together and shared a studio in Paris. Since the studio was headed by Antoine, he is assumed to have been older than Louis. The brothers reputation rests on a number of paintings signed Le Nain, on the basis of which other paintings (but no drawings) have also been attributed to them. None of the signed paintings bears a Christian name, and there is no secure way of attributing works to the individual brothers, although many attempts have been made. Eighteenth-century sale catalogues, fearful of anonymity, effectively chose from the three names at random. Since the writings of Witt (1910) and Jamot (1922) in particular, it has been habitual to ascribe small paintings on copper to Antoine, and austere, larger peasant scenes to Louis. This division of hands will be found in almost all the subsequent literature on the artists, although it must be stressed that there is no evidence at all to support it. Great efforts have also been made to identify works by Mathieu, since he survived his brothers by nearly 30 years and presumably continued to paint after their deaths in 1648. However, no such activity after 1648 is securely documented, and none of the surviving works bears a date later than 1647; and the arguments for a separate Mathieu oeuvre, though cogent, should not be regarded as conclusive. The outstanding feature of the work of the Le Nain brothers, and the basis of their celebrity since the mid-19th century, is the artists treatment of the poor.

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